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I was entertained by voyagers (Version 2)

by James Graham 

Posted: 11 December 2010
Word Count: 1042
Summary: The second ‘voyagers’ poem is here, but it became a sandwich filling between two halves of the first poem. I hope it’s not too unappetising.


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I was entertained by voyagers (2)

1

Abducted by aliens, some would say, but
entertained, I’d call it. Their ‘ship’
was not so much a saucer, more
a flying casserole. They took me in,
and sat me down, gave me a little bracelet,
a copper wrist-band that received their speech,
translated it to mine, and mine to theirs.

Well, yes, I was naive, I took a risk,
but neither more nor less than if I’d joined
a group of Malagasy or Chinese; should I assume
they’d all be killers or enslavers? People
from across whatever sea, are what they are.

They’re not six-armed, or green. They’re not
intelligent amphibians, or birds. It’s the apes
that crack it, everywhere it seems.

They’re very pale, and have big ears
- not Mickey Mouse or even Mr Spock,
but noticeably big. Enough for some
to label them the Luggies or the Shells
and shove them in a mental holding-camp.

(I heard some youth, some higher-level shooter
who had been zapping aliens all night,
away from his console for a pack of fags,
had seen a voyager and shot at him and missed.)

They gave me a bowl of fruit like lychees,
and a sweet drink, and talked and listened.

So much to tell. But I must begin with this:
for though we talked about our wars, our gods,
our science and theirs, our arts and theirs,
it was the ‘showing’ of their homeworld
that got me going - or I should say, made me
speak without thinking. I am sorry for it.

2

The homeworld name came through as Oo-ish, almost Wish.
Nothing to do with wishing, I’m quite sure, but when they ‘showed’
their ‘film’ it was a wish-come-true for me. They ‘turned it on’

and a forest slowly formed around me - spongey underfoot, a mass
of bramble-bracken-broom, trunks looming up and sharpening, as if
a mist were clearing; and a blend of odours I could not unmix.

And then, as if my childhood sight had been restored - I took
my glasses off - each rib and furrow on the barks was clear,
and every grey-green, blue-gray lichen, and against the sky
- a mile above it seemed - I fancied I could count the leaves.
Sounds too were magnified: a bird-call far away: four short
high penny-whistle notes, a long glissando down to bass.

I listened with the hearing of an owl, to the groans and howls
of chafing branches, and soft thuds of falling twigs and cones.
I could not tell image from reality: I seemed to walk, could feel
the crackling of the undergrowth, approached a clearing where
a giant had fallen, and another stood naked, cloven from top to root
- by lightning, I suppose. But the fallen tree - I don’t know how

to start describing it, it was the loveliest thing I ever saw.
I stood below it; could not see beyond it. This dead thing
was alive. It was in fancy dress! On its flanks and ridge

a crowd of mushrooms - drifts of gentian blue, with little
bronze-caps flowing into them; snow-white thimbles
on groves of slender stalks; broad hands like ivory,
each with three fingers and a thumb, explaining, begging;
fat sturdy growths like the upturned feet of elephants;
sea-green and azure vases, meant for a single rose.

And just beyond, a score or more (that I could see)
of saplings reaching for the light: slim, delicate,
tapering towards young canopies of oval leaves,
deep turquoise, glossy, crimson at the edges,
that did not droop but seemed to climb the air.

Oh, such prolific life, in the midst of death!
Such a will to live, lavish and passionate!


Then I cried out, for I was flying, hovering,
above the trees; vertigo and fear of dying almost
overwhelmed me, but I closed my eyes and tamed it.
It was a ‘film’, I half-remembered; but this ‘cut’
was shocking! A great bird laboured past me,
big as an albatross, obsidian eye in a patch of white,
expansive wings ribbed black and sand and gold.

And the lovely world came into focus, and I seemed
to see a hundred miles. I caught a restless light
from a far-off ocean. In the middle ground, the forest
seemed more orderly, more husbanded; hollows
and little hills were open to the sky. It might have been
an earth-scene - but for the turtles. Sleeping turtles.

Carapaces, grooved and plated, coffee, chestnut, every brown,
their plates configured to their curve and sweep; some gold,
some green; some covered in eight-sided buttons, others
smooth as an egg; some small as houses, some as large
(it seemed) as St Peter’s dome. I was deceived, of course -

I waited for some sleepy heads or languid legs
to venture out, but nothing happened. Then the zoom
began to work again, and flecks and specks appeared, becoming

insects, tiny creatures, something live and moving in and out
and underneath the shells, and overground from shell to shell.
And slowly they were magnified, became themselves, and I

cried out again - for these were people! Busy people!
This was a city! A turtle city! Turtle City!

3

I do regret what afterwards I said,
but what they said then, that sobered me,

I have since accepted. Fired up with the romance
of space, and sci-fi odysseys, I got lyrical. ‘I look

at the night sky’, I said. ‘I see the fires. There are worlds
too close to the fire, and worlds too far away.
But there are worlds in just the proper place,
their years three-fifty to three-eighty days,
their atmosphere as warm as a hatching egg.

In time we will set sail, and cross the archipelago.
Some islands there are bleak, no castaway,
no palm tree, but others - we shall visit them,
and we will breathe there, talk and listen’.

But will you go, a voyager said,
for blood and metals? Your death-doers,
your kill-makers, will go
. The notion
translated strangely, as if they had
no word for it. Another said:

Do not go there. By all means go
to the dead Moon, dead Mars, but
do not go where there is other life.

You do not know
how to live with others.







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Comments by other Members



Nella at 18:14 on 13 December 2010  Report this post
I think - on first reading - that it is wonderfully fantastical. There is so much detai; a dream world come alive. I like the wondrous, dream-like tone of it all, and this line:
and a blend of odours I could not unmix
.
Robin

tinyclanger at 11:13 on 15 December 2010  Report this post
First impression: it made me cry.

Unsure if I want to go on and have more, I think that one was enough for me.
x tc

James Graham at 11:21 on 30 December 2010  Report this post
Hello James. Not much doing in WW at the moment. I followed your link and read the interview with Thomas Berry. His line of thinking about ‘a mutually enhancing relationship between humans and the planet’ is interesting and (as far as I know) original. When he talks about the divine and the ‘sacred story’ I’m afraid my eyes glaze over, but one should perhaps reserve judgement. If our unfolding scientific knowledge of the history of the universe and of intelligent life were to be the new ‘sacred story’, it would seem to be a better one than the old stories of tyrannical gods who need to be appeased in order to prevent them wiping out whole populations. I don’t know much about Creationism or ‘intelligent design’, but I wonder if this is just a more intelligent version of it, one that ought to be taken seriously.

He refers to ‘Natural Capitalism’, and I looked that up in Wikipedia - which may not be the best way to get an education - and ideas about a kind of holistic, ecological wealth-creation are interesting too.

The above poem is based on a simple-minded ‘faith’ that there must be intelligent life elsewhere in the universe, and that it will be diverse but essentially primate, bipedal, with large brainboxes and highly developed language.

Thank you for your positive comments on the poem. Happy New Year when it comes!

James.

clyroroberts at 20:19 on 01 January 2011  Report this post
Happy New Year to you too James

I think Berry came to mind after reading your poem because his cosmology seems to me to be the only one that makes sense if other "technological" beings exist out there with intact and flourishing biospheres.



FelixBenson at 16:26 on 03 January 2011  Report this post
It strikes me that there is something of Gulliver's Travels in this poem, not perhaps in any larger way than the subject matter, and the journey to other wondrous and weird worlds with different rules and societies. Perhaps a visual echo is there in the image of the fallen giant of a tree (in fancy dress), which made me think of Gulliver and the Lilliputians.

There is a celebration of difference and the imagination in the passages that describe the beautiful planet. This poem has a wonderful dreamlike quality, which makes the final lines all the more effective - how we come back down to earth with a bump!

These aliens are on to us. And there is no argument from me about the truth in those final lines.




SarahT at 21:45 on 04 January 2011  Report this post
James,

Sorry for the lateness of my comments. I have finally sat down to appreciate this properly. There is a real flow to this. It starts off strong and comes to a crescendo with the middle section. I had my doubts about the prosey nature of the last version but this one doesn't have the same problem, in my view. Part of the reason for this is that when it gets going there are some really great full rhymes and syllabic rhymes within the lines:
hearing of an owl, to the groans and howls

bramble-bracken-broom, trunks looming up

canopies of oval leaves

Then I cried out, for I was flying, hovering,
above the trees; vertigo and fear of dying almost
overwhelmed me,


For me, this version works better than the first, not least because I think you've avoided the clunkiness that was in the other one and told a very real story.

My only pick would be that I tested out the rhythm and, for me, there are a couple of places where there seem to be a few too many syllables:
little
bronze-caps

I think 'little' needs to be a one syllable word.

obsidian eye in a patch of white,

Maybe lose the 'a'?
And, my final one, although I know it was in the first version:
gave me a little bracelet,
a copper wrist-band that received their speech,
translated it to mine, and mine to theirs.

I should warn you that I did some reading up on poetry over the holiday so I've got my head full of theory but I'm not entirely sure whether this gives my comments on rhythm more or less merit. Possibly I've just gone overboard!

I hope these comments are useful and I'm glad I've finally found the space to take the time over this.

S



James Graham at 11:44 on 05 January 2011  Report this post
Sarah, thanks for your critique. You're quite right to test the rhythm, and if you're now a qualified rhythm-tester that's a service I need! I will look again at lines you quote, and indeed the whole poem, as I revise. At present I'm working from the local library as my home PC has gone insane. Time is limited, but I'll print out your new poem and comment as soon as I can.

Kirsty, I'm glad the final lines ring true. I see the resemblance with Gulliver's Travels - Gulliver talking with the Houyhnhms, observing the Yahoos, and having his illusions about humanity severely dented. Maybe I should explain one of the features of the 'alien' world: one of the things that move me very much - but not everyone, I'm sure - is virgin forest, forest where there is no human intervention. Fallen trees rot slowly away, skeletons of dead standing trees hang around for a very long time; but there's abundant life too.

James, Berry's ideas certainly deserve attention and I will keep a reference to them stored in my big old primate brainbox.

James

clyroroberts at 12:31 on 05 January 2011  Report this post
"Sometimes I think to myself, I hope we are never able to leave this planet because if we ever do spread out into the universe, it is not likely that we will behave differently there than we have here. If we could in fact inhabit the universe—and I do not believe we will be able to—we would infect it. We are probably a virus of some kind that fortunately is concentrated on this planet. I was recently reassured about all this, however, when I read about a supernova that had exploded. The light from the explosion reached the earth about three or four years ago—it had taken a hundred and sixty-six thousand years to arrive here. I thought, Well, there is no danger, we will never be able to go that far."

Jose Saramago

I've been reading more of his work lately and came across this quote when he was being interviewed by the Paris Review. I thought you might like it.

Nella at 16:48 on 05 January 2011  Report this post
I wanted to add that I love those last lines, too, because they ring so true for me, as well.
And that quote by Saramago sums it all up nicely.
Robin

James Graham at 12:33 on 07 January 2011  Report this post
James, thanks for this quote from Saramago. I didn't know it, but as Robin says it sums the whole thing up very eloquently. Let's not be too misanthropic, though. If we could travel those unimaginable distances, there are good people we could send - wise, compassionate, respectful of other cultures. Might be a small party, but no harm would be done. In our terrestrial explorations, there were a few people who didn't assume that the natives were stupid or mere savages, and learned to value the cultures of Africans or Native Americans. Still, recently I've been reading about the Atlantic slave trade and other forced migrations, and the cruelties are unspeakable. This is the 'virus' that would 'infect' the universe.

James.

V`yonne at 16:40 on 07 January 2011  Report this post
This reminded me of 'Out of the Silent Planet,' James. The human race does not know how to live with itself let alone others - sad.
I liked the humour of
not so much a saucer, more
a flying casserole.


I didn't think you needed both of these:
gave me a little bracelet,
a copper wrist-band

I loved the rich descriptions of the second section:
a crowd of mushrooms - drifts of gentian blue, with little
bronze-caps flowing into them; snow-white thimbles
on groves of slender stalks; broad hands like ivory,
each with three fingers and a thumb, explaining, begging;
fat sturdy growths like the upturned feet of elephants;
sea-green and azure vases, meant for a single rose.

and the way it opens as a vista to realization that this is a city.

I wsn't sure whether you were going for metre or rhythm but I was fairly swept along at a pace in that scenario.

Hwever I was trying to read aloud to hear the poem and things like
I do regret what afterwards I said,
but what they said then, that sobered me,

that sobered me just didn't read well to me...
I do regret what afterwards I said,
but what they said then, sobered me,
and
no palm tree, but others - we shall visit them,
why 'them'

If you needed them for rhythm that would be different...

This last part
But will you go, a voyager said,
for blood and metals? Your death-doers,
your kill-makers, will go.
reminds of the Oyarsa of Mars dealing with Weston On;y it was Weston using the childish language because his grasp of their language was poor.

I always come back to C S Lewis ;

wolfiewolfgang at 20:31 on 24 February 2011  Report this post
Sorry James but I have only just come across this!

I am always hesitant in saying anything because, even though I am writing poetry every day and have been lucky enough to have some published, I really don't think I understand what I am doing!

What I really like about this poem is the way, for me anyway, it appears to be about other sci-fi worlds but really, deep down, like most sci-fi, I suppose, it is about our Earth and what we have lost or what we love and might destroy here.

I like the sandwich where the beginning is most overtly ironic and the end sadly prophetic and the middle is an idealised natural world - the three parts add up to a poignant philosophical warning not without hope or even a love of our world here today.

I think the conversational tone works very well too even though I had to re-read it a few times to find what i took to be your rhythms at times.

What I didn't understand - and this is a question rather than a criticism - is why you made paragraph breaks in the middle of phrases. I know other poets do this but I, in my ignorance, have never understood the purpose. I am currently re -paragraphing a number of my poems and, in some cases, cutting out paragraph breaks altogether (in one case after your wise comments about one of my poems!) - so I was intrigued and would love to know your reasoning there.

It is a lovely poem, James.



James Graham at 11:39 on 27 February 2011  Report this post
Colin, many thanks for your positive comment. On verse paragraphing, basically what I do is double space where the poem seems to be ‘moving on’ - to a new topic, new development of a theme, new set of images. On that criterion, though, when I look at this poem again I can see places where a new paragraph isn’t strictly necessary, e.g.

Fired up with the romance
of space, and sci-fi odysseys, I got lyrical. ‘I look

at the night sky’, I said. ‘I see the fires. There are worlds
too close to the fire, and worlds too far away.


True, the lines before the break are a preamble to the speech, and after the break we have the speech itself. But that’s not ‘moving on’ in any real sense, so this gap could be closed.

I see more justification in

... This dead thing
was alive. It was in fancy dress! On its flanks and ridge

a crowd of mushrooms - drifts of gentian blue, with little
bronze-caps flowing into them; snow-white thimbles


because the six-line paragraph that follows the break is all about the mushrooms. It ‘parcels up’ that passage of description. Of course the verse paragraph doesn’t have to begin like a prose paragraph, i.e. at the beginning of a sentence. There can be a ‘tag’ at the end of the previous paragraph, which is mainly to do with rhythm and line-length - ‘On its flanks and ridge’. There’s a break between this and ‘a crowd...’ because we are moving on to the lines which give a detailed visual description of the mushrooms.

In a very general way, paragraph breaks in verse can have the effect of ‘showing off’ better whatever appears at the start of the new paragraph. It’s what I call ‘display’. Whatever follows the break is displayed in a way it wouldn’t be otherwise. The reader’s attention shifts, and he/ she brings a new focus to the new paragraph. This works for ordinary line-breaks too, but the paragraph break is slightly more effective.

I see another break in this poem that may not be necessary:

... But the fallen tree - I don’t know how

to start describing it, it was the loveliest thing I ever saw.


I’m in two minds about this one. It’s often a matter of fine judgement. I imagine free-verse poets vary in their use of this kind of break, from those who overuse it to those who hardly ever use it.

I hope this will be helpful to you in your own work, and doesn’t contradict too much what I said about your poem!

James.


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